In the Martians, “telepathic” intercourse had resulted in a true group-mind, a single psychical process embodied in the electromagnetic radiation of the whole race; but this group-mind was inferior in calibre to the individual minds. All that was distinctive of an individual at his best failed to contribute to the group-mind. But in the fifth human species “telepathy” was only a means of intercourse between individuals; there was no true group-mind. On the other hand, telepathic intercourse occurred even on the highest planes of experience. It was by “telepathic” intercourse in respect of art, science, philosophy, and the appreciation of personalities, that the public mind, or rather the public culture, of the Fifth Men had being. With the Martians, “telepathic” union took place chiefly by elimination of the differences between individuals; with the Fifth Men “telepathic” communication was, as it were, a kind of spiritual multiplication of mental diversity, by which each mind was enriched with the wealth of ten thousand million. Consequently each individual was, in a very real sense, the cultured mind of the species; but there were as many such minds as there were individuals. There was no additional racial mind over and above the minds of the individuals. Each individual himself was a conscious centre which participated in, and contributed to, the experience of all other centres.
This state of affairs would not have been possible had not the world-community been able to direct so much of its interest and energy into the higher mental activities. The whole structure of society was fashioned in relation to its best culture. It is almost impossible to give even an inkling of the nature and aims of this culture, and to make it believable that a huge population should have spent scores of millions of years not wholly, not even chiefly, on industrial advancement, but almost entirely on art, science, and philosophy, without ever repeating itself or falling into ennui. I can only point out that, the higher a mind’s development, the more it discovers in the universe to occupy it.
Needless to say, the Fifth Men had early mastered all those paradoxes of physical science which had so perplexed the First Men. Needless to say, they had a very complete knowledge of the geography of the cosmos and of the atom. But again and again the very foundations of their science were shattered by some new discovery, so that they had patiently to reconstruct the whole upon an entirely new plan. At length, however, with the clear formulation of the principles of psychophysics, in which the older psychology and the older physics were held, so to speak, in chemical combination, they seemed to have built upon the rock. In this science, the fundamental concepts of psychology were given a physical meaning, and the fundamental concepts of physics were stated in a psychological manner. Further, the most fundamental relations of the physical universe were found to be of the same nature as the fundamental principles of art. But, and herein lay mystery and horror even for the Fifth Men, there was no shred of evidence that this aesthetically admirable cosmos was the work of a conscious artist, nor yet that any mind would ever develop so greatly as to be able to appreciate the Whole in all its detail and unity.
Since art seemed to the Fifth Men to be in some sense basic to the cosmos, they were naturally very much preoccupied with artistic creation. Consequently, all those who were not social or economic organizers, or scientific researchers, or pure philosophers, were by profession creative artists or handicraftsmen. That is to say, they were engaged on the production of material objects of various kinds, whose form should be aesthetically significant to the receiver. In some cases the material object was a pattern of spoken words, in others pure music, in others moving coloured shapes, in others a complex of steel cubes and bars, in others some translation of the human figure into a particular medium, and so on. But also the aesthetic impulse expressed itself in the production, by hand, of innumerable common utensils, indulging sometimes in lavish decoration, trusting at other times to the beauty of function. Every medium of art that had ever been employed was employed by the Fifth Men, and innumerable new vehicles were also used. They prized on the whole more highly those kinds of art which were not static, but involved time as well as space, for as a race they were peculiarly fascinated by time.
These innumerable artists held that they were doing something of great importance. The cosmos was to be regarded as an aesthetic unity in four dimensions, and of inconceivable complexity. Human works of pure art were thought of as instruments through which man might behold and admire some aspect of the cosmic beauty. They were said to focus together features of the cosmos too vast and elusive for man otherwise to apprehend their form. The work of art was sometimes likened to a compendious mathematical formula expressive of some immense and apparently chaotic field of facts. But in the case of art, it was said, the unity which the artistic object elicited was one in which factors of vital nature and of mind itself were essential members.
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